In the neon-lit world of Gabriel Mascaro’s mesmerizing sci-fi film, ‘Divine Love,’ there lies a captivating blend of sensuality and political protest. Set in a near-future Brazil under the sway of conservative Evangelical values, the movie serves as an urgent cautionary tale against the backdrop of President Jair Bolsonaro’s reign. With its alluring aesthetics and timely social commentary, ‘Divine Love’ is poised to become a sought-after gem on the festival circuit.
The Seductive Dystopia of ‘Divine Love’
As the film opens, we are transported to the year 2027, where the director invites us to witness a changed Brazil. Amidst the flickering neons and an infectious synth score, it becomes apparent that Gabriel Mascaro’s creation is not just a whimsical exploration of fantasy but a sharp critique of the current political landscape. The near-future Brazil depicted in ‘Divine Love’ is a society engulfed by the conservative values that propelled President Bolsonaro to power. Through its artful storytelling and stylish aesthetics, the film presents a compelling vision of a secular state hanging precariously by a thread.
The Aesthetics of Protest
Gabriel Mascaro, building on the success of his previous work, ‘Neon Bull,’ continues to push the boundaries of visual storytelling in ‘Divine Love.’ Collaborating once again with the brilliant cinematographer Diego Garcia, the director immerses us in a world bathed in vivid hues of pink and blue. Beyond their aesthetic appeal, these colors serve a deeper purpose, reflecting the heteronormative and gender-defined society of 2027 Brazil. The Party of Supreme Love, a God-fearing and couples-oriented organization, has become the dominant force in the country, replacing even the once-celebrated Carnaval. Public spaces are equipped with mandatory scanners that openly display a woman’s child-bearing status, further emphasizing the strict societal norms enforced by the government.
Joana’s Struggle for Family Values
Within this dystopian landscape, we follow Joana, a deeply religious notary played by the talented Dira Paes. Devoted to her faith and determined to uphold her conservative ideals, Joana uses her position to dissuade couples from divorcing. Her interventions range from emotional manipulation to bureaucratic obstacles, offering some of the film’s most dryly humorous moments. Yet, despite her unwavering dedication to the institution of marriage, Joana and her husband Danilo (Julio Machado), a florist, find themselves trapped in an unfulfilling marriage due to their inability to conceive.
The Church of Divine Love provides solace and an outlet for their desires, with its unconventional blend of worship, group therapy, and partner-swapping. As permissive as the faith may seem, same-sex desire remains forbidden within its confines. The film navigates the fine line between Brazil’s puritanical and hedonistic extremes, creating an unsettling compromise that highlights the country’s ideological struggle.
The Pursuit of Motherhood
Joana’s longing for motherhood becomes the central thread of the film. Although sparsely written, the script is rife with symbolic reminders of her unfulfilled maternal aspirations. As the narrative unfolds, an eerie child provides a voiceover, embodying Joana’s innermost thoughts and desires. However, this child’s presence only leads to further questions, leaving audiences intrigued and engrossed in the story. Through Joana’s portrayal by Dira Paes, the film masterfully explores the quiet turmoil and agitation that come from within.
The Tapestry of ‘Divine Love’
Mascaro weaves a tapestry of low simmering tension, allowing the narrative to unfold gradually. This deliberate pacing accentuates the film’s sinuous forays into eroticism and trance-like states. Moreover, ‘Divine Love’ presents a meticulously crafted, lo-fi, hi-style world that thrives on intricate details. Despite its modest budget, the production design by Thales Junqueira brilliantly merges the film’s outrageous provocations with a plausible and mundane setting. From neon-drenched Evangelical raves to brutalist drive-thru confession booths, the film showcases a vivid and often unsettling vision of Brazil’s future.
A Mirror to Brazil’s Political Present
‘Divine Love’ arrives at a critical juncture in Brazil’s political landscape, where President Bolsonaro’s policies continue to spark controversy. The film serves as a timely mirror, reflecting the country’s present-day realities alongside a sparkling mirrorball. The recent establishment of the Ministry of Women, the Family, and Human Rights, headed by an anti-choice Evangelical preacher, eerily echoes the themes explored in ‘Divine Love.’ With its bold and unapologetic storytelling, the film ushers in a new era of Brazilian protest cinema, and audiences are left with an urgent message couched in dazzling cinematography and captivating performances.
Conclusion
Gabriel Mascaro’s ‘Divine Love’ is a film that effortlessly combines dazzling aesthetics, timely social commentary, and engaging storytelling. From its vivid color palette to its exploration of ideological struggles, the movie captivates audiences while delivering a powerful critique of Brazil’s political climate. As viewers immerse themselves in the neon-lit world of ‘Divine Love,’ they will be left with a profound appreciation for the artistry of Gabriel Mascaro and the urgent message his film conveys.
